This disc got five-star reviews from those on amazon, and thus will sell well on that site. I'll offer a different view here. Certainly, there is much beauty in Lisa Batiashvili's playing, but Barenboim's collaborative tempi are weak and slow except in the tutti sections for the orchestra. To my ears, there is no energy in these performances: listen to Heifetz in the Tchaikovsky (white hot!) or perhaps Oistrakh in the Sibelius. If you like those (and I recommend them), then you will dislike these weak-kneed readings. Frankly, I could barely get through them for purposes of this review. Very ordinary. Two stars.

Xaiyin Wang has been busy in the recording studio over the past few years. Her recent disc of American Piano Concerti prompted me to open the 2012 disc I've had on my shelves untouched for some time, and a rewarding recording it is to these pianophile ears! Wang is surely a virtuoso, yet she plays with a more delicate touch than Richter or Howard Shelley, preferring to seduce the ear with variations of touch that at times left me breathless. Her sensitive playing brought new life to the Corelli Variations, making them less of a virtuoso showpiece a la Ashkenazy than a tender rumination. Chandos has recorded a winner here. Five stars!

This 2-CD set marks the completion of cpo's effort to record all of Johannes Brahms 200-plus lieder. Like the preceding 9 volumes it is a worthy effort. Soprano Juliane Banse won't erase memories of Ameling, Schwarzkopf and Ludwig in this repertoire, but she is a persuasive advocate of these lovely songs. Baritone Andreas Schmidt is little short of magnificent, and pianist Helmut Deutsch is all one can ask for.

Mystery-- why has it taken cpo 20 years to issue these recordings made in 1997-98?

Finally, a final 3-CD volume containing all the vocal duets and quartets has just been issued.It should be in my mailbox next week.

I decided to forget this one. There are so many grand recordings of these concertos, there almost has to be a point to be satisfied -- entirely satisfied -- with the many renditions most of us have on our shelves that we want few others. I would concur with both your recommendations of Heifetz/Tchaikovsky and D-Oistrakh/Sibelius, and of course, have them both - enjoyed them for years and years.

This disc got five-star reviews from those on amazon, and thus will sell well on that site. I'll offer a different view here. Certainly, there is much beauty in Lisa Batiashvili's playing, but Barenboim's collaborative tempi are weak and slow except in the tutti sections for the orchestra. To my ears, there is no energy in these performances: listen to Heifetz in the Tchaikovsky (white hot!) or perhaps Oistrakh in the Sibelius. If you like those (and I recommend them), then you will dislike these weak-kneed readings. Frankly, I could barely get through them for purposes of this review. Very ordinary. Two stars.

Schubert's "Death & the Maiden" quartet has been well-served on disc for generations (Busch and Amadeus stand out in my mind, or the more recent Juilliard), so why this one? Well, it's paired with the more obscure Sibelius Op. 56, which is beautifully played, and the Ehnes Quartet is perfectly recorded, with every nuance captured with sincerity and panache. This, in short, while hardly a necessary disc, pleases the heart and ear with wonderful sound and exquisite performances of these heartfelt quartets. It feels good to keep up with what's happening currently on the music scene. Five stars.

In the days of Barclay-Crocker, this was the best Mahler III on reel-to-reel,
with one criticism, which I'll get to in a moment. Horenstein pioneered Bruckner
and Mahler on LP, and it was a great relief to hear his magnificent Mahler on
the super-fidelity of Dolby B reel-to-reel, duplicated 4/1 by Harold. I still
loved Bernstein's magical Mahler III on LP, but one had to deal with changing
records and pops & ticks, while Horenstein could be played without stopping from
beginning to end (I had a Pioneer RT-707, which was an automatic reversing
machine with a Dolby B decoder right next to it.). MY only criticism of
Horenstein's version was that the "Bim-bam...." movement was just too slow:
something happened in the recording session, probably under-rehearsal of the
forces involved, that dragged the tempo compared to Bernstein's sparkling,
energetic version. Now on CD, Horenstein's sound is not quite as full as it was
on reel tape, but his spirit is there, and this is still one of his best
recordings. The Bernstein on CD is still magical, but it has a flaw in its mezzo
soloist who's not quite up to the quality of other soloists I've heard in this
magnificent symphony. So, Horenstein gets 4 1/2 stars (as did
Bernstein/NY/Columbia), and I'm grateful to have the CD at last!

This exquisite recording is my first taste of violinist Renaud Capucon, led by the inimitable Daniel Harding. Harding/Capucon (pronounced Capusson) have created, along with the Vienna Philharmonic, an extraordinary recording of both the Brahms and Berg concerti that satisfies my ear with perfect tempi and crystal-clear passage-work. The atmosphere of the superb orchestra cannot be bettered, and the recording on the Virgin label brings out the subtle details necessary to both works. Very, very fine. Five stars.

This disc has been unopened in my pile of new releases for some time, and I'm glad I finally opened it. Steinberg (no relation to the conductor) was actually Rimsky-Korsakov's son-in-law, and a teacher to Shostakovich. Stylistically, he relates more to the former than the latter, but his Symphonies, all of which deserve to be recorded, present interesting material and are stunningly played and recorded by the Gothenburg Symphony led by the inimitable Neeme Jarvi. Jarvi's fascination with obscure repertoire has brought us many fine recordings: this is one of them. If you like a taste of Scriabin with your Rimsky-Korsakov, or have a preference for Myaskovsky, you'll admire this music as I do. Five stars.

Stephen Hough has by now established a reputation for excellent recordings, and this is one of them. His Liszt isrespectful and on this disc, never flashy, but there is a depth of feeling here that ranks this disc with the finest recordings. I would have liked a bit more brilliance in the sound, but that's a quibble. The Gounod paraphrases come off brilliantly, while Hough's sensitivity of touch never wanes. He makes it all sound easy. Four 1/2 stars.

I was in the audience when this live recording was made, so it is a nice souvenir of a wonderful week in Chicago. Beyond that, it is a fine Bruckner 9th. Not my favorite (Haitink, Abbado, Karajan take the palm for me) but very much worth hearing and having. I do wish it included the fine Bruckner Te Deum that was part of the concert.

Paavo Jarvi has been establishing himself as a fine conductor for at least 15 years, working with top ensembles around the world. His style is disciplined and electric, which suits me fine. I've reviewed his Bruckner recordings elsewhere, now it's time for R. Strauss. The Don Juan equals the best on disc, while his Heldenleben pleases my ears mightily. Pacing is spot-on, and the recording of the NHK Symphony in Tokyo is well-balanced with just the right amount of detail. Climaxes are effortless, as they should be in digital. In short, I'm deeply appreciative of the art and craft of this superb new disc. Five stars.

Boris Giltburg is a young genius of a pianist that has been launched upon the world suddenly and without the fanfare that accompanied, say, Evgeny Kissen. In this recital, taped in Miami of all places when he was in his early twenties, Giltburg shows a command of diverse repertoire with a maturity far beyond his years, and musicality that often brought a gasp from my soul. There is something about his self-assurance in the most technically demanding passages that never interferes with making music. Do buy this superb recital before it goes out of print: you'll treasure it for years to come. We may have another Sokolov on our hands here: he's really that good!

This delectable CD of Mozart arias and bons-bons delights the ear with energetic playing from Pygmalion, led by Raphael Pichon and exquisite singing from star singer/musician Sabine Devieilhe (she began her musical studies as a cellist, but switched to voice when her talent was discovered.). Devieilhe pours her heart and soul and formidable technical mastery into each aria, written for the three Weber sisters whom Mozart was deeply involved with (Aloysia, Josepha, and his wife Constanze). The recorded ambience is ideal, and the balance between singer and orchestra works very well for these ears. A stunning disc, easily worthy of five stars.

The entire Karajan Ring on a single Blu-ray disc. It will never be my favorite Ring, but it certainly has its moments. The accompanying hardcover book is well done, although some of the included photos are unintentionally funny. It often appears that Karajan saw himself as somethinga Wagnerian character.

Picked up these bargain reissues the other. OK the Adagio isn't by Albinoni and it runs to 6:50 as opposed to 11 minutes plus on an other CD I had but I bought the disk for the oboe concertos.
The Shostakovich disk, well, they need time to bed in, especially number 1.

This is a historically significant recording, led by a conductor (Bretislav Bakala) who studied with Janacek. The conducting in these premiere recordings made just five and six years after the end of WWII is fiery and extremely disciplined: exciting to listen to. Unfortunately, the forces involved are not up to the demands of either the music or the conductor in this then, to them, new music. The Sinfonietta (now available in many newer, better versions by Mackerras and Ancerl) features brass that simply cannot keep up with the demands placed on them, while the tenor in the Glagolitic Mass finks out on a high note and strains mightily at the tessitura (I'll take Nicolai Gedda/Bernstein any day!).

That's my first and last choice for the mass; the tenor matters much less than the organist, and Frantisek Michalek has the right stuff. As for Bernstein's recording, sorry, not for me; his chorus seems not to have a clue as to the style and meaning of the work.

That's my first and last choice for the mass; the tenor matters much less than the organist, and Frantisek Michalek has the right stuff. As for Bernstein's recording, sorry, not for me; his chorus seems not to have a clue as to the style and meaning of the work.

......and this one by Mackerras in 1985? It's less electric than Kubelik or Bernstein but you can't ask for more authentic forces. Elizabeth Soderstrom is in top form, and the tenor, Frantisek Livora, makes his tessitura sound not quite so strained as the 1951 version (still keeping that slavic sound), while the organist, Jan Hora, definitely has the right stuff in his solo and throughout. Besides, frankly, I don't know what you mean about Bernstein's chorus not having "a clue as to the style and meaning of the work." It's a mass, fer cryin' out loud.

Besides, I like Bernstein's disciplined passion.

IMHO, no single recording is THE FINAL WORD on any musical work. I'm always looking for ways to improve on the present & past interpretations in my collection.

Whatever gave you that idea? It's not a liturgical work but, like Bernstein's Mass, a secular piece premiered and always performed in concert. As for the "disciplined" character of Bernstein's recording, that's what's wrong with it; this is wild music, not least in that extraordinary organ solo, and from Bakala and Michalek it gets a suitably wild performance.

I've heard some other good recordings - Mackerras's is one - and a performance by Simon Rattle and the Boston Symphony that have had what I think is the right idea, but next to Bakala's they're somewhat inhibited.

Of course you're right in principle that "no single recording is THE FINAL WORD on any musical work." But if the recording hasn't been improved on in the past and for various reasons isn't likely to be in the future, I say it's the last word for all practical purposes. And that's the current situation with Janacek's mass as I see and hear it. Since you hear it otherwise, we'll have to leave it at that.

Whatever gave you that idea? It's not a liturgical work but, like Bernstein's Mass, a secular piece premiered and always performed in concert.

It may not be a liturgical work, but the proper comparison would be with Fauré's Requiem and not Bernstein's Mass, which he described as a "theater (sorry John theatre) piece" and which diverges from classical music in various ways, some of them ghastly.

There's nothing remarkable about it. All one has to do is hit the right keys at the right time and the instrument plays itself.
-- Johann Sebastian Bach

It would never occur to me to compare Janacek's flamboyant setting of a version of the mass text (omitting "Dona nobis pacem") with Fauré's anything but flamboyant setting of the mass for the dead (omitting the "Dies irae"). After all, the Fauré was premiered in a church as part of a funeral service; as far as I know, the Janacek has never been used in a church service, nor can I imagine a service for which it would be appropriate. Another comparison would be with Beethoven's Missa Solemnis, which like the Janacek is not suitable for liturgical use (Beethoven conducted parts of it in a concert) and has a long instrumental solo.

The Bernstein Mass is an appropriate comparison here since it's his recording of the Janacek that's at issue. Having himself composed a highly flamboyant secular work on the mass text, Bernstein might be expected to let 'er rip when performing the Janacek, but he didn't, and it's disappointing.

According to the Leonard Bernstein web site, the correct formal title is "MASS: A Theatre Piece for Singers, Players and Dancers." So "theatre" it is.

For any who are wondering why an American (Bernstein or me) spells that word "theatre," it's standard English; note that the Wikipedia article is titled "Theatre." Theatre folk prefer it, as when the American playwright David Mamet titled his play "A Life in the Theatre." The copy-editor in me permits "theater" only when quoting a source or giving the actual name of a building or ensemble, e.g. "Lincoln Center Theater." Why it's so I don't know, but it is so, and I think it's cool.

Theatre or theater [1] is a collaborative form of fine art that uses live performers . . . .

(1) Originally spelled theatre and teatre, from around 1550 to 1700 or later, the most common spelling was theater. Between 1720 and 1750, theater was dropped in British English, but was either retained or revived in American English (Oxford English Dictionary, 2nd edition, 2009, CD-ROM: ISBN 9780199563838). Recent dictionaries of American English list theatre as a less common variant, e.g., Random House Webster's College Dictionary (1991); The American Heritage Dictionary of the English Language, 4th edition (2006); New Oxford American Dictionary, third edition (2010); Merriam-Webster Dictionary (2011)

The composer of Der Sieger was, by all accounts, friendly with Richard Strauss and thus a contemporary. Von Reznicek, however, was unlucky in life (his first wife and daughter both died young), and he considered himself deeply wounded by this experience. His compositional skills, as shown in this really first rate (if short @ 48 minutes) CD, were quite equal to those of Strauss, at least in orchestral music, as this 3 movement piece amply shows. Von Reznicek wrote three tone poems, of which this is the last and best-crafted, exceedingly well-played by Michail Jurowski, father to Vladimir, and the augmented Cologne WDR Orchestra. This is a brilliant disc, and it should be in every Strauss lover's collection. Five stars.

Lounging on my shelf of unopened discs for nearly a decade, don't you think that it's about time to open this excellent disc of Bach by the acclaimed interpreter Angela Hewitt? I do! This is my first exposure to this fine artist, who shades her Bach subtly and tellingly. If you like Perahia, you will go for Ms Hewitt, who chooses her dynamics carefully, and plays even the most difficult passages with ease. Listen carefully: she has a lot to say in this repertoire, and is extremely musical. Her reputation in Bach is certainly well-deserved: I will be exploring this artist further. Five well-deserved stars.

This is decidedly not the version of Bruckner III that most of us are familiar with, the Novak, which Bruckner himself revised and edited much later in life. No, this is Bruckner's original manuscript from 1873, which he proudly presented to the public as his "Wagner-Symphonie." The live performance on this disc, expertly led by a young Yannick Nezet-Seguin, is from 2008, long before his appointments in NY and Philadelphia. It's an electrifying reading, much longer than his Montreal version, with added depth and passion provided by the Staatskapelle Dresden. Five enthusiastic stars.

This is the fourth time Strauss's Alpine Symphony has been recorded in Dresden (My favorite up to now has been Rudolf Kempe), and this is the best of the lot, this time led by Fabio Luisi. Maestro Luisi briefly entertained thoughts of taking the helm at the MET, but reconsidered after some experience there. This is proof that Luisi would have been an excellent choice for the post, as the Dresden forces shine and glimmer under his baton. Balances are excellent, and the depth of the soundstage is awesome. Anja Harteros is a competent soloist in the Four Last Songs, but the engineers have taken the bloom off her voice, miking her too closely, so look to Schwarzkopf, Janowitz, Popp, or Norman for excellent versions. Four 1/2 stars.

Recently issued to commemorate the completion of Suzuki and the BCJ's recording of the Bach cantatas. Predictably excellent performances of three cantatas, plus interviews with Suzuki and other participating musicians.

Tchaikovsky wrote six wonderful symphonies that have been well-served during the stereo era by great conductors, including Ormandy, Dorati and Abbado, while the three great last three have been recorded by Mravinsky (Leningrad) and Gergiev (Vienna) in their own style. Now we have Petrenko/Liverpool to add to the library of great performances, proving that with a great conductor who knows what he/she wants, even a second-rank orchestra now can rise to the occasion. This, along with Petrenko's set of I, II & V, make for a great complete set to rival the others mentioned above. Bravo! and five stars.

This is a good enough Mahler VI, well-played and conducted by Jonathan Nott and the excellent Bamberg Symphony (Nott completed his Mahler cycle in 2016). With today's orchestras, it's now possible to get through the great symphonies without major flaws, and that's what happens here, but I want more. Bernstein's first recording of this symphony in NY, or Barbirolli on EMI provide more depth and passion, with committed playing from their orchestras, provide what my heart & ears want. Also, Nott's complete set priced at $75 costs three times what Bernstein/NY costs nowadays. Four stars for a valiant effort.

That recording, and that cycle, are symptomatic of what's wrong with the classical record business. Nobody needs them, nobody really wants them, they merely clutter the Amazon.com listings and confuse uninformed customers - it's purely a vanity project for the orchestra, the conductor, and the record company. Fooey.

That recording, and that cycle, are symptomatic of what's wrong with the classical record business. Nobody needs them, nobody really wants them, they merely clutter the Amazon.com listings and confuse uninformed customers - it's purely a vanity project for the orchestra, the conductor, and the record company. Fooey.

By the way, how did you happen to get it? I'm just curious.

Lent it by a friend, who wanted my opinion: he had bought it on a recommendation from Gramophone, and had the same reaction I did.

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Happened upon this early Meyerbeer last night. He'd made friends with Rossini. Given its première in 1819. Nice singing and good live recording atmosphere.
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I swore I'd buy no more CDs but this is the only form available other than a dld. I'd sooner convert it myself if I want it on my mp3 walkman.

Jack Gallagher's colorful and engaging Symphony no. 2. Splendid performance by Joanne Falletta and the London Symphony. Clocking in at a full hour, this unfailingly energetic work may be a little bit too much of a good thing. But it's beautifully orchestrated, and never boring.

Last edited by diegobueno on Mon Aug 14, 2017 11:52 am, edited 1 time in total.

Emil Nikolaus von Reznicek was a less successful composer than his contemporary, Richard Strauss, but he composed in much the same style, which your author finds quite entertaining. On this disc, we have two of his tone poems, well-played by the WDR Koln Radiosinfonieorchester, ably led by Michail Jurowski. Each piece tells its story well. The lead piece is Schlemihl, but the more interesting is Raskolnikov, of Crime and Punishment fame. If you like Richard Strauss, you'll enjoy these fine works that have long languished in obscurity. Four 1/2 stars.

Yes, I certainly remember that LP set. I used to listen to it a lot. Colin Davis was such a terrific champion of Tippett's music, and his recordings of this opera and The Midsummer Marriage and the Third Symphony made me a big Tippett fan. Based on the production photos in the booklets, I would have loved to have seen both operas in those productions.

What do you think of The Knot Garden? I enjoyed the bizarreness of the weird juxtaposition of scenes and characters. Once I got a sense of the point he was trying to make, though, it seemed a bit clunky. I think Tippett needed a collaborator on his librettos at the very least, someone to tell "no don't do that you fool. Here, you can do it better this way".